Archives Directory for the History of Collecting in America
Archives related to: Arman, 1928-2005
|title||Arman : artist file : study photographs and reproductions of works of art with accompanying documentation 1930?-1990 [graphic] [compiled by staff of The Museum of Modern Art, New York].||repository||The Frick Collection and Frick Art Reference Library|
|collection title||Found In: Museum of Modern Art art reference photo files.|
File of color and black and white photographs of work of art, assembled by the staff of The Museum of Modern Art in New York from the museum's establishment until 1990.
Items may include full views, details, installations, etc.
Frick Photoarchive Collections
MoMA Photo Files Arman
|extent||1 or more folders|
|formats||Ephemera Photographs Reproductions|
|access||Photocopies of items are available upon request, subject to fees and other current guidelines for reproduction.|
|acquisition information||Gift of The Museum of Modern Art, New York.|
|title||Brooklyn Museum. Dept. of Painting and Sculpture. Institutional file, Exhibitions. Arman 1955-1991: a retrospective.||repository||The Brooklyn Museum Libraries and Archives|
|collection title||Published clippings and reviews of an exhibition held Feb. 28, 1992-Apr. 26, 1992 at the Brooklyn Museum. |
Other title: Arman 1955-1991: a retrospective
Cite as: Brooklyn Museum of Art Library Collections. BMA institutional files.
Found In: BMA institutional files
Brooklyn Institutional Files
|formats||Exhibition Files Clippings Ephemera|
|access||Contact repository for restrictions and policies.|
|acquisition information||Files compiled by Brooklyn Museum library staff from 1917 to the present.|
|title||Galerie Schmela records, 1923-2006 (bulk 1957-1992)||repository||The Getty Research Institute|
|collection title||The Galerie Schmela records reveal the work of a passionate art dealer focused on seeking out and promoting new and innovative artists emerging in the changing social, political, and cultural landscapes in postwar Europe and the United States. |
Documented is gallery's business under Alfred Schmela's direction from the first opening show in 1957 until his death in 1980, and its continuation by wife and daughter during the 1990s, with a few items dated to 2006.
The two most substantive portions comprise correspondence with artists, collectors, art dealers, museum curators, and critics; and several hundred vintage photographs of openings, performances, artists working on installing their shows, visitors, installations in gallery space, individual artwork, and Alfred Schmela himself and his family.
Among the photographs many are by well known photographers and artists, including Bernd Becher, Paul Brandenburg, Bernd Jansen, Ute Klophaus, Jon Naar, Reiner Ruthenbeck, Liselotte Strellow, Manfred Tischer, Walter Vogel, and Charles Wilp.
A small series comprises documents concerning the gallery's first auction held in 1963, including the gallery's annotated copy of the auction catalog. Other files hold business records and ledgers. A sizable collection of ephemera documents exhibitions of a vast number of artists from Europe and North America.
Several organized groups of press clippings collected from the mid 1950s until late 1990s from local daily newspapers, compile reviews of exhibitions held at Galerie Schmela, other shows in Germany and abroad, articles about current trends in contemporary art, art criticism, the politics of art, Alfred Schmela, individual artists, collectors, museum curators, art dealers, various art institutions, and the art fair Kölner Kunstmarkt.
The Kölner Kunstmarkt file includes the first portfolio of limited edition graphics offered for sale each year to raise funds for the art fair.
Among the artists most extensively documented by the gallery are Sh saku Arakawa, Joseph Beuys, Christo, Lucio Fontana, Michael Gitlin, Robert Indiana, Yves Klein, Christian Löwenstein, Georges Mathieu, Robert Morris, Walter Pichler, Otto Piene, Raphael Jesús Soto, Richard Tuttle, and the ZERO group, especially its founders Heinz Mack, Otto Piene, and Günther Uecker.
The Yves Klein file includes the sound recording of a discussion which took place at Galerie Schmela's inaugural exhibition, Yves Propositions monochromes on 31 May 1957, reel-to-reel tape and audio cassette. The Beuys file is extensive, and includes the gallery's correspondence with clients and the artist's estate, ephemera and press clippings, and various documents concerning Beuys's political activism at the Art Academy in Düsseldorf.
Summaries of selected correspondence are available online.
SPECIAL COLLECTIONS - CONTACT REFERENCE
Galerie Schmela records, 1923-2006, bulk 1957-1992. The Getty Research Institute, Los Angeles, Accession no. 2007.M.17
|extent||102.63 linear feet (175 boxes, 26 flatfile folders)|
|formats||Business Papers Correspondence Artist Files Photographs Financial Records|
|access||Open for use by qualified researchers.|
|finding aid||Online and in the repository|
|acquisition information||Acquired in 2007.|
|title||Juliette Elkon Hamelecourt papers, 1943-1993.||repository||Archives of American Art|
|collection title||Business correspondence, photographs of Hamelecourt and of her work, loan agreements and financial receipts, contracts, exhibition catalogs and announcements, clippings, and miscellany. |
ADDITION: Papers, ca. 1940-1996, including correspondence and cards regarding her workshops, slide lectures, articles, and embroidered tapestries (many commissioned by churches in New York and Ohio); grant applications; photographs and slides of Hamelecourt and her works of art; price lists, exhibition catalogs, announcements; clippings, and other printed material regarding Hamelecourt, Ohio artists, and local art organizations such as NOVA (New Organization for the Visual Arts, Cleveland, Ohio) and the Ohio Liturgical Arts Guild; and miscellany. Also included are oral history interviews conducted by Hamelecourt with residents of the Chelsea Hotel, New York, including interviews of artists Arman, Battina, Bernard Childs, Rita Fetcher, Eugenie Gershoy, Adolph Cook Glassgold, Maxwell Gordon, and others (15 cassettes).
Bio / His Notes:
Fiber artist, tapissiere, lecturer; New York, N.Y., and Cleveland Heights, Ohio. Hamelecourt had a workshop at the Chelsea Hotel, N.Y.. Served as editor and contributor to needlework publications. Born 1912.
|extent||0.4 linear ft., 1.2 linear ft.|
|access||Unmicrofilmed; use requires an appointment and is limited to Washington, D.C. office.|
|acquisition information||Donated by Juliette Hamelecourt, 1978-1997. Additions are expected.|
|title||Dwan Gallery (los Angeles, Calif. and New York, N.Y.) records, 1959-1971.||repository||Archives of American Art|
|collection title||Records document exhibitions held at the Dwan gallery in Los Angeles (1959-1967) and New York (1965-1971). Included are photographs, slides, and color transparencies of installations; clippings; announcements; and lists of works in each exhibition. Among the artists represented in the Los Angeles gallery are Arman, Robert Goodnough, Edward Keinholz, Yves Klein, Raymond Parker, and Ad Reinhardt; in New York, Dan Flavin, Sol LeWitt, Robert Smithson, and Kenneth Snelson.|
In 1959, Virginia Dwan opened her first gallery in the Westwood Village neighborhood of Los Angeles, California. In 1965, Virginia Dwan moved to New York City and founded an east coast branch of the Dwan Gallery. Exhibitions at the Dwan Gallery showed Abstract Expressionist artists, Nouveaux Realistes artists, Land, and Minimilist artists. Dwan recognized that many of her shows were not considered salable but continued to show the avant-garde. The Dwan Gallery Los Angeles closed in mid-1967 but the New York branch remained open until 1971.
|extent||2.2 linear ft.|
|formats||Photographs Clippings Slides|
|access||Use requires an appointment at our Washington, D.C. office.|
|finding aid||Finding Aid available in D.C. office.|
|acquisition information||Donated 1989 and 1996 by Virginia Dwan.|
|title||Oral history interview with Virginia Dwan, 1984 Mar. 21-June 7.||repository||Archives of American Art|
|collection title||An interview of Virginia Dwan conducted 1984 Mar. 21-June 7, by Charles F. Stuckey, for the Archives of American Art. |
Dwan speaks of her background and education; her early interest in art; starting her gallery in 1959 in Los Angeles; the early days of her gallery; the development of her circle of artists; early shows; financing the gallery; "shopping" for art and artists; public and critical reaction to her gallery's shows; the decision to go to New York, and getting established there; making decisions about what to show; collectors; the closing of the Dwan Gallery; and her life since.
She also relates anecdotes about the creation and execution of Robert Smithson's "Spiral Jetty" and reminisces about numerous artists with whom she was associated, incluing: Jean Tinguely, Robert Rauschenberg, Yves Klein, Ad Reinhardt, Ed Kienholz, Philip Guston, Arman, Robert Smithson, Franz Kline, Kenneth Snelson, Carl Andre, Sol Lewitt, Michael Heizer, Walter De Maria, and Robert Ryman.
Bio / His Notes:
Virginia Dwan is an art dealer from New York, N.Y.
|extent||10 sound cassettes Transcript: 360 p.|
|formats||Sound Recording Transcript|
|access||Use requires an appointment. Authorization to publish, quote or reproduce must be obtained from: Virginia Dwan, c/o of Anne Kovach, Virginia Dwan Collection/Dwan Gallery Archives, 1 West 72nd St., #32 New York, N.Y. 10023. Phone: 212/724-1613; Fax: 212/496-6438; email@example.com.|
|acquisition information||These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.|
|title||Oral history interview with Arman, 1968 Apr. 22.||repository||Archives of American Art|
|collection title||An interview of Arman conducted 1968 Apr. 22, by Sevim Fesci, for the Archives of American Art. |
Arman discusses his childhood in France during World War II; his conceptual approach to art; his association with Yves Klein, the New Realists, and the "School of Nice"; and the role of the art critic.
Bio / His Notes:
Arman (1928-2005) was a sculptor from New York, N.Y. Born Armand Pierre Fernandez. Changed name to Armand Pierre Arman and known as Arman.
General Note: An unrelated interview of Ray Johnson (4/17/68) conducted by S. Fesci is also on this tape.
Portions are difficult to understand due to Arman's imperfect command of English.
|extent||sound tape and 34p transcript|
|formats||Sound Recording Transcript Online Transcript|
|access||Transcript available on the Archives of American Art Web site.|
|finding aid||Transcript available on the Archives of American Art Web site.|
|title||[Robert Rauschenberg and others at the Robert Rauschenberg Retrospective at the Jewish Museum] [graphic] / Frank Horvat.||repository||Archive of American Art|
|collection title||Photographed by Frank Horvat at the Robert Rauschenberg retrospective at Jewish Museum, 1963. Standing left to right are: Sherman Drexler, Claes Oldenburg, Richard Lippold, Merce Cunningham, Robert Murray, |
Peter Agostini, Edward Higgins, Barnett Newman, Robert Rauschenberg, Perle Fine, Alfred Jensen, Ray Parker, Friedel Dzubas, Ernst Van Leyden, Andy Warhol, Marisol, James Rosenquist, John Chamberlain and George Segal.
Kneeling left to right: Jon Schueler, Arman, David Slivka, Alfred Leslie, Tania, Frederich Kiesler, Lee Bontecou, Isamu Noguchi, Salvatore Scarpitta and Allan Kaprow.
Forms part of:
Miscellaneous photographs collection
Item has been digitized and is available on the Archives of American Art’s website.
|extent||1 photographic print|
|access||Item has been digitized and is available on the Archives of American Art’s website|
|bibliography||Glamour magazine/ June 1963.|
|acquisition information||Possibly donated by Sidney Waintrob. Microfilmed 1973 with Photographs of Artists Collection I and scanned in 2003.|